The third voice from the top lowered an octave. The dropped voice becomes the bass, which is why a string is skipped.
Esus2sus4 is E, F#, A and B — Esus4 with the second added underneath the fourth.
It sounds ringing and deliberately ambiguous. Read another way it is a stack of fourths, which is why it works as a pad rather than as a chord that resolves.

| E | F# | A | B |
|---|---|---|---|
| 1 | 2 | 4 | 5 |
Texture more than function — still no third.
Also written Esus2/4 or E suspended 2nd and 4th. The same chord either way; which spelling you meet depends on who wrote the chart.
The same operation one voice further down: the third voice from the top falls an octave and becomes the bass.
That leaves a bigger hole under the top three notes, so a string gets skipped: the muted string in the middle is the shape, not a mistake.
Esus2sus4 has 9 of them, on strings 6-4-3-2 and strings 5-3-2-1, from the 2nd fret up to the 12th — every inversion the chord has: E in the bass, F# in the bass, A in the bass and B in the bass. The one to learn first is the F# shape at the 2nd fret.
5 of them sit on strings 6-4-3-2, so you can run the inversions up one set without changing strings — which is the whole reason to learn them as a family rather than as separate grips.
Start with x74455 — no barre and low, at the 4th fret. 2 of the 6 shapes here sit in open position. 4 of the 6 need a barre. Together they cover the neck from the 2nd fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 002202 | open position | E, root position | F# | barred |
| 022202 | open position | E, root position | F# | barred |
| x74455 | 4th fret | E, root position | A | all fretted |
| x77977 | 7th fret | E, root position | B | barred |
| 12-12-9-11-x-x | 9th fret | E, root position | F# | all fretted |
| 12-12-14-14-12-14 | 12th fret | E, root position | F# | barred |
The same notes rebuilt from scratch give 14 drop 2 and 6 open string voicings, each on its own page.
In which keys. Every note of Esus2sus4 belongs to C# minor (the ♭III), D major (the ii), E major (the I), E minor (the i), F# minor (the ♭VII), G major (the vi), A major (the V) and B minor (the iv).
Every note of Esus2sus4 is in E major, E mixolydian, E dorian, E natural minor and E harmonic minor.
Change one note of Esus2sus4 and you have Esus2 (drop the fourth), Esus4 (drop the ninth), Eadd9 (the fourth becomes a major third), E7sus4 (the ninth becomes a flat seventh), E11 (add the flat seventh) or E/F# (the fourth becomes a major third).
Esus2sus4 is a suspended chord — root and fifth, with a second or fourth where the third would be — or nothing at all. Suspended and power chords on every root.
On Esus2sus4’s sound and use this page follows Robert Rawlins & Nor Eddine Bahha, Jazzology (Hal Leonard, 2005). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.